Picks and Pans Review: The Best Approach to Go, a Hugely Enjoyable If Ultimately Shallow Bit of Filmmaking from Director Doug Li-Man (swingers), Is to Just Sit Back and Watch Go Go. It's a Gleeful Windup Toy of a Movie, Full of Noise and Propulsive

UPDATED 04/19/1999 at 01:00 AM EDT Originally published 04/19/1999 at 01:00 AM EDT

energy.

An ensemble comedy drama, Go swiftly introduces its half-dozen major characters, all in their late teens or twenties, and then jumps back and forth among them like a frog going for the gold at the Amphibian Olympics. Over the course of one very eventful night, drugs will be dealt, guns will be drawn, and the characters will discover just how well—or not—they can handle themselves under extreme pressure.

With its hip attitude, overlapping stories and fractured chronology, Go is a kind of Pulp Fiction reupholstered in Generations X and Y fabric. Like 1994's Pulp, Go is fast, funny and wildly inventive. But also like the Quentin Tarantino film, it has little on its mind besides its own cleverness.

Of the large and talented young cast, the standout is Polley, the Canadian actress so memorable as the abused teenage daughter in The Sweet Hereafter. In Go, she creates the movie's most credible character, a slacker grocery-store clerk who gets in way over her head when she decides to raise extra cash by peddling pharmaceuticals. Holmes (Dawson's Creek) also registers strongly as Polley's loyal friend. And Mohr (Picture Perfect) and Wolf (Party of Five) bring an artfully light touch to their scenes. (R)

Bottom Line: So what are you waiting for—Go already

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